This welcome volume examines the use and meaning of equestrian statues in Archaic Greece, relying not only on a full catalog of the sculptures but also on the rich comparative material in the literary and archaeological remains. Previous works have either crowded this important material into a large study of all equestrian statues everywhere or else have examined only those few that belong to the Athenian Acropolis. It has therefore been difficult to characterize the style and distribution of this sculpture, let alone examine them within their cultural milieu. Mary Ann Eaverly carries out precisely these important tasks. The first half of the volume identifies the unique characteristics of equestrian statues as a type apart from other Archaic sculpture. The author places the sculptures within their historical and cultural context and considers critical factors such as cultic activity, aristocratic symbolism, and the influence of Peisistratos. The second half of the volume is a catalog that discusses all the extant pieces individually. Archaic Greek Equestrian Sculpture will be of interest to students and scholars of Greek sculpture, the Greek artistic heritage, and the complex history of Archaic Greece.

Vols. 1-8, 1880-87, plates published separately and numbered I-LXXXIII.

Sir Thomas Fairfax, not Oliver Cromwell, was creator and commander of Parliament's New Model Army from 1645 to1650. Although Fairfax emerged as England's most successful commander of the 1640s, this book challenges the orthodoxy that he was purely a military figure, showing how he was not apolitical or disinterested in politics. The book combines narrative and thematic approaches to explore the wider issues of popular allegiance, puritan religion, concepts of honour, image, reputation, memory, gender, literature, and Fairfax's relationship with Cromwell. 'Black Tom' delivers a groundbreaking examination of the transformative experience of the English revolution from the viewpoint of one of its leading, yet most neglected, participants. It is the first modern academic study of Fairfax, making it essential reading for university students as well as historians of the seventeenth century. Its accessible style will appeal to a wider audience of those interested in the civil wars and interregnum more generally.

Medusa, the Gorgon, who turns those who gaze upon her to stone, is one of the most popular and enduring figures of Greek mythology. Long after many other figures from Greek myth have been forgotten, she continues to live in popular culture. In this fascinating study of the legend of Medusa, Stephen R. Wilk begins by refamiliarizing readers with the story through ancient authors and classical artwork, then looks at the interpretations that have been given of the meaning of the myth through the years. A new and original interpretation of the myth is offered, based upon astronomical phenomena. The use of the gorgoneion, the Face of the Gorgon, on shields and on roofing tiles is examined in light of parallels from around the world, and a unique interpretation of the reality behind the gorgoneion is suggested. Finally, the history of the Gorgon since tlassical times is explored, culminating in the modern use of Medusa as a symbol of Female Rage and Female Creativity.

Temples are the most prestigious buildings in the urban landscape of ancient Italy, emerging within a network of centres of the then-known Mediterranean world. Notwithstanding the fragmentary condition of the buildings’ remains, these monuments – and especially their richly decorated roofs – are crucial sources of information on the constitution of political, social and craft identities, acting as agents in displaying the meaning of images. The subject of this volume is thematic and includes material from the Eastern Mediterranean (including Greece and Turkey). Contributors discuss the network between patron elites and specialized craft communities that were responsible for the sophisticated terracotta decoration of temples in Italy between 600 and 100 BC, focusing on the mobility of craft people and craft traditions and techniques, asking how images, iconographies, practices and materials can be used to explain the organization of ancient production, distribution and consumption. Special attention has been given to relations with the Eastern Mediterranean (Greece and Anatolia). Investigating craft communities, workshop organizations and networks has never been thoroughly undertaken for this period and region, nor for this exceptionally rich category of materials, or for the craftspeople producing the architectural terracottas. Papers in this volume aim to improve our understanding of roof production and construction in this period, to reveal relationships between main production centres, and to study the possible influences of immigrant craftspeople.